I Was Singing You

Re/Generations: Bridging the Centuries of Art & Activism    Part of a Greater Whole: Reflections on Intersection IV: Re/Generations by Caron Atlas (Part 1)    Reflections on Convergence: A Youth Perspective on Intersection IV by Jacqueline Johnson with Raul Matta (Part 2)    I Was Singing You by Alice Lovelace (Part 3)    more essays on the way

Part 3 of "Re/Generations: Bridging the Centuries of Art & Activism," essays in response to INTERSECTION IV: Re/Generations, an intergenerational, cross-cultural gathering investigating historical models and new directions in multicultural performing arts and activism. The conference/festival was organized by New WORLD Theater and took place at the University of Massachusetts at Amherst, April 7-9, 2006.

I arrived at New WORLD Theater’s fourth Intersection conference, Re/Generations, in time for the Youth Convergence opening reception (co-hosted with Youth Leadership in the Arts). They opened with the crowd assembled in a circle being led in ritual recognition of the spirits of the four directions, then the sky and earth. I mention it here because I was impressed that at a youth gathering, an elder led the opening to honor and acknowledge that we stood on ground steeped in spirit and history, where respect for elders was a cornerstone of the society. There are few places outside of the church where we find this belief that elders are experienced and deserving of respect.

I often find myself in conflict with young people. I also find myself reflecting on how difficult it was to be a youth growing up in the 1950s with no opportunity to voice my own opinions or express myself through dress and speech. We were told daily that children should be seen and not heard. The world has changed, now we acknowledge that fools can be young or old. We know the personal expression of individuals is all they truly own; who they are, their world view and the stories that shape them. Funny, my conflicts with youth are usually around the same issues they have with me – they habitually refer to, respond to, or talk to me like an adult/elder stereotype while accusing me of dealing with them as stereotypes.

The Intersection IV conference was billed as art activism, so I will begin with my definition. For me, art activism is about coalition building, using art as a conversation. Art activism is not a service to be bought or sold, but art that defends and agitates toward change, tries to clearly articulate issues, has the ability to remind us of the connections between us, thereby inspiring the people to devise strategies and actions. When it comes to art and activism, I am glad I had a mentor like Toni Cade Bambara; she took the time to develop in me a deep sense of social responsibility. She also taught me about art as an effective tool for activism, and Atlanta offered me multiple experiences to practice and develop new tools.

As part of Intersection’s opening plenary, "Bridging the Centuries of Art & Activism," I shared the stage with youth and elders whom I greatly respect. At one point I referred to the youth as our future and was taken to task. “We are the now” was the response from Thenmozhi Soundararajan, executive director of Third World Majority. And I was thinking, well, I am the now too! My comment was not paternal, only stating the reality that we are a passing generation and the youth will have to carry this struggle forward. We are on the brink of a world that is not only divided by age, race, ability and religion, but a world of even greater divisions. This is not a time for squabble, but for thoughtful strategies based on the lessons of others, whether they are from another generation or another part of the world.

One participant in a Youth Convergence conversation on art and education was from Panama. She spoke in depth about the interconnections between her people and African Americans; she verbalized, and others affirmed, that our ability as individuals to make global connections is impaired by the lies and half-truths that pit us against each other. If we wait for the system of education in the U.S. to tell us how our stories connect, we will wait forever. Art and culture are root tools of the masses and it is our job in some instances to awaken new branches, in others to nourish and feed the tree. This is one role that arts activists play, to bring forth the untold stories. There are so many untold her and his stories in this country, on this continent, and if we listen we might come to understand that we are not victims, we may be survivors, but we are certainly the labor and the social foundation on this planet. By the time everyone in the room spoke, we had agreed with 95% of what we heard. It took all expressions, experience, lessons drawn to make the moment and conversation complete.

olive Hip-Hop Dance Theatre performed at the conference

Being part of the World Social Forum movement, I am coming to understand how active youth in other countries are as the vanguard of change in education, labor, immigration rights, in response to the Gulf Coast disaster, as guardians of the environment. I also know they work hand in hand with the elders to build for the future.

I came away from the plenary with a clear understanding that art activists must move closer to the ways front-line organizers work – deeply within the community, with long-term engagement, collective vision and goal-oriented strategies that lead to the next level of change. We need to awaken people’s consciousness about our shared reality and liberate the creativity of the human spirit.

Here is what I heard throughout the conference that inspired me:

Gather round this wisdom tree, a shining path
a peaceful powerful calling; gather in ritual
to honor the ancestors—
minister to the dis-ease in our midst.
What are your values?
What is your culture?
What can our art teach you
about the journey of your people.

Hear the voices of the ancestors
they live in the tree tops
each pebble, each stone
instruct us, be still, listen
hear the ancestors whisper—

What have you done with the gifts we left you?
The gifts handed down?
The hard fought freedoms won?

Imagine there is a forest before you
in that forest a path, where are you going?
This is what we ask of you:
honor earth, mind, and spirit
develop your consciousness
don’t be afraid to make connections daily
show your compassion for others
use your creativity to find a way out of violence
share your vision for the world that will come after you.

Remember where you are
remember who you are
there is value in remembering
remember time is an idea that only exists in our minds
dive into your dreams
cherish and inspire each other
tell your truth so we can know even more truths
sleep undisturbed
make space for those who need more
dissolve into nature.

Change will take moons and cycles
enter through an exit
fold and refold
learn how to scream
take my hand
press
breathe
relax
the earth is shifting inside of you

gather around
talk, dream, connect soul to soul
shape reality, imagine a different world
travel, grow, rid the ego of self importance
release the hold the world has on your heart
release your frustration to have it all right now
ask each other what are you doing?

Take it back and share it
become the change you want to see
fall weightless into the world
demand softness, color, peace, love
this is your vantage point—
kneel, speak- guide-search
survive- hurt no one- ask questions-inhale-exhale
life is where you are.

Feed those in need of fry bread and hope
water the journey between us
bear witness to the divinity of experience
remember you are not alone
get up, go tell your story
dance your liberation, dance your inspiration
grow organically in your daily interactions
your thoughts are flowers.

Make space for the world at your table
live your life in such a way so none can ask
where were you when I needed you?
and if they ask, answer
I was singing you a lullaby.

There is a worldwide movement of art and activism coming to a city near you very soon – if it isn’t already present.

Alice Lovelace is a poet based in Atlanta, Ga. In the late '70s she worked with Toni Cade Bambara to organize the Southern Collective of African American Writers and was a coordinator for the historic 1980 Conference on Black South Literature and Art at Emory University. Lovelace holds a Master of Arts degree in Conflict Resolution from Antioch University and is a lead organizer with the United States Social Forum. She has won numerous awards for her poetry and her work in community service and social justice.

Original CAN/API publication: November 2006